Poly-Ana is an Analog Model Polyphonic Synthesizer.
Poly-Ana's voice architecture is a combination of the best features of the famous analog classics plus several new features for a total of 185 controls - see the feature list below. The GUI design aims to put every parameter just a single click away, with large, easy to grab knobs and switches that behave like the real-world items - there are no hidden drill-down menus so each and every control is prominently displayed where you can see it.
Features:
* Maximum 12 note polyphony featuring unison, voice detune and a unique poly-unison mode.
* Three oscillators per voice.
* Two filters per voice: 12/24 dB/Oct, LPF/HPF, can be run in parallel or in series allowing for additional multi-mode capability.
* Filter Resonance Modulation.
* Stereo signal path throughout the voice. Poly-Ana produces dramatic stereo effects without using any tacked-on delay or chorus effects.
* All voice parameters always visible and accessible with a single click.
* GUI controls that work like the real-world items, like automatic knob detents and single-click toggles.
* Unique modulation routing scheme: All the power of modular without the tedious complications of using patch cables or a modulation matrix.
* Waveform "morphing" creates smooth transitions between oscillator waveforms beyond simple cross-fading.
* Waveform Mod automatically morphs oscillator waveforms.
* PWM for all oscillator waveforms.
* Noise Sync: Oscillators can sync to noise source as well as normal pitched tones.
* Two LFOs per voice with retriggering. Allows separate phase for each voice's LFOs.
* Full Host-Sync for LFOs with adjustable phase offset.
* Three ADSR envelopes per voice with adjustable curves.
* Two Modulation Mixers allow for complex combinations of modulation sources.
* Unique, oversampled voice engine.
* Quality control lets you reduce Poly-Ana's CPU power requirements while recording performances.
KORE 2 ist eine Workstation für die Anforderungen der modernen Musikproduktion. Dieses leistungsfähige Software/Hardware- System bietet eine vielseitige Library aus 500 produktionsfertigen KORE SOUNDS®, 3000 Sound Variations und 100 Effekt-Settings. Nie zuvor war das Finden, Spielen und Verändern von Klängen einfacher, direkter und schneller.
KORE 2 bietet sechs integrierte Audio-Engines, einen perfekt auf das System abgestimmten Hardware-Controller und einen super-schnellen KORE SOUND® Browser. Darüber hinaus ist KORE 2 jederzeit erweiterbar durch die KORE SOUNDPACKS, KOMPLETE 5 und jedes Audio Unit™/VST®-PlugIn.
Cakewalk Z3TA Plus v1.5.3
Cakewalk.Z3TA.Plus.VSTi.DXi.v1.5.3-AiR
Size: 5mb Language: Multilangual OS: WinAll
Discription
Z3TA+
Z3TA+ is an award-winning analog-style synthesizer with incredible sound shaping capabilities. The exclusive bandlimited Waveshaping technology makes Z3TA+ one the best and most respected synths in the industry. As a complete instrument, Z3TA+ is oriented to the professional musician and sound programmer looking for uncompromised sound quality and features. Z3TA+ ships with DXi, VST, and stand-alone versions.
Z3TA+ (zay’-ta) is among the most expressive and inspiring virtual instruments available today, fully capable of producing the most authentic vintage analog sounds and incredible, cutting edge modern sounds. Whether you’re looking for lush, warm pads, slowly evolving atmospheres, searing leads or sparkling FM sounds, Z3TA+ delivers the goods, and includes hundreds of professional presets.
Read what the press has to say:
"A lot of virtual sound generators are competing for your disposable income, and the process of choosing one is further complicated because there are so many worthy contenders. Yet within this crowded field, the Z3TA+ still stands out. The sound quality is clean and defined, the interface is, well, clean and defined, and the programming flexibility is enough to keep diehard synthesizer fans off the streets and out of trouble.”
—Keyboard
"You will be hard pressed to find satisfying results that you won't be able to achieve with Z3TA+, whether huge, warm-sounding pads that subtly change over time, bright, shimmering FM sounds, wavetable-style patches with plenty of internal motion within them, deep, thick basses, fat, punchy leads or not-of-this-universe effects for your sound design needs."
—Grooves
Master Restoration Suite is a comprehensive set of restoration plug-ins for cleaning up tape, vinyl, and acoustic recordings. The tools give extremely high quality results with minimal tweaking, hence they sound great and are easy to use.
These plug-ins run within any Mac OS X (AU/VST/MAS/RTAS) or Windows (DX/VST/RTAS) based music production or audio editing application.
The MR Suite consists of 5 plug-ins:
* MR Noise – Stellar sounding broadband noise reduction
* MR Click – Click and crackle filter for vinyl or digital sources
* MR Hum – Precise hum and buzz removal
* MR Gate – Expander/gate for quick and simple background attenuation
* Master Restoration – The ultimate all-in-one cleanup tool
<strong>Vibe-EQ</strong><br />This is one of those mythical plugins that makes things sound better just by<br />plugging it in. Really. Unlike 1973, which is a very pristine EQ plugin (but a<br />VERY good EQ, all the same), Vibe-EQ is all about color. The more boost or cut<br />you dial in, the more color and funk you get. This may not be your go-to EQ<br />every time, but youll wind up using it more often than youd expect.<br /><br /><strong>Sculpto<br /></strong>Draw Bezier curves over your audio waveform to create envelope shapes to<br />follow or clip to. Clean errors, sharpen transients, or design entirely new<br />sounds. All in real time, with amazingly low CPU use.<br /><br /><strong>1973</strong><br />The Neve 1073 is probably one of the best large-format console channel<br />modules ever made. Punchy, detailedit was almost impossible to make it sound<br />badfor its time. Lets not debate about large chunks of iron and wax/paper<br />versus electrolytic capslets talk about the sheer genius involved in picking<br />the proper EQ frequencies, bandwidths, and slopes. THIS is where 1973 is<br />coming fromnot an emulation, but a tribute. Taking the best features and<br />reducing them down to their essencethen making it utterly transparent and<br />smooth. Dial in some high end. No, more than thatcmon, more. What? Are you<br />afraid of that knob or somethingGIVE IT A TWIST, I SAID! Magic. THATs what<br />separates the men from the boys in EQs like thisthe ability to drop in<br />staggering amounts of smooth, detailed HF boost without shredding eardrums.<br /><br /><strong>Bad Buss Mojo</strong><br />How to describe this? Well, I guess well just settle for this: sometimes<br />digital is just TOO perfect. Im not going to say sterile or lacking soul,<br />because Id wind up eating my words sooner or laterbut sometimes you just<br />want a little grita little dirta little imperfection. Thats where Bad Buss<br />Mojo comes in. Bad Buss Mojo allows you to dial in specific tweaks to a<br />virtual mix buss amplifier. Is the + rail a little low? Dial it inPSU not<br />quite as stiff as it could be? Dial in a bit of knee in the bend. Old-school<br />transistors or even gasp tubes? Dial in some nonlinear modulation. Itll go<br />from I cant hear that youve done anything, but I like it all the way up to<br />Why did you run my mix through a guitar amp? Highly recommended (the plugin,<br />not running your mix through a guitar amp)<br /><br /><strong>Event Horizon Plus<br /></strong>Event Horizon is a Peak-Eating Limiterhuh? Well, maybe a better description<br />is that its a clipper with an optional soft-clip circuit. By truncating<br />waveforms short of where the DAC would go into clipping, you can get VERY<br />transparent loudness increases unlike most limiters, Event Horizon does this<br />with ZERO pumping, ZERO transient or frequency artifacts, and with ZERO<br />latency. Now, it may not let you be louder than the latest flavor of the<br />month mastering limiter, but within its range of operation, you WILL get an<br />unsurped natural sound. Its output is what comes into itonly louder. If<br />you push it too hard, it will tell you in no uncertain terms that this is no<br />longer the right tool for the job. Give it a tryits fantastically easy to<br />use, and it sounds great!<br /><br /><strong>Major Tom<br /></strong>Major Tom is not your ordinary compressor, no sir! It was designed with very<br />specific goals in mind, and blew completely past them. We like Major Tomcan<br />you tell? Major Tom is intended to be easy to use: there are no attack and<br />release controlsthe values vary depending on the level of the signal relative<br />to its threshold. These values are very finely tuned to make it as musical as<br />possible, without requiring a wall full of gold records to hit the right<br />settings. The attack/release settings are inspired by one of the true<br />stealth vintage compressors, the dbx 160. You may not hear about it much,<br />but youve heard it on records time and time again. Musicality: Thats the<br />second key. Major Tom WILL pump, but it should do so in a musical, rhythmic<br />manner. Put it on vocals gently for smoothingnice. Put it on b, but dont<br />go overboardbuttah. Put it on drums and go berserkSMACKIN. If you pull lots<br />of gain reduction, its going to turn into a savage, funky, living, breathing,<br />pumping instrument of destruction, but use it gently and it will be nice and<br />transparent, adding a subtle gloss to your tracks. Those looking for utterly<br />transparent gain reduction need not apply.<br /><br /><strong>Transient Monster</strong><br />This is simplicity itself. It will save your drum mixes. Two controls: Attack,<br />and Sustain. I would explain more, but you knowI really dont have to. Put it<br />on your drum buss. Turn the knobsyou WILL understand, and you will thank me<br />later. Okay, okayhave you ever had a drum performance that was REALLY laying<br />down the groove, but the recorded drum sound just didnt SNAP? Turn up the<br />attack. Need those ride cymbals to really ring instead of just dying down into<br />the mush? Turn up the sustain. Too much bleed and ring getting into your drum<br />tracks? Turn DOWN the sustain. See? I knew I didnt really have to explain it<br />to you.<br /><br /><strong>Verbiage<br /></strong>Before convolution reverbs, there were Lexicon, Yamaha, Eventidehmm. Seems<br />like all the REALLY good reverbs were around way before everybody got the<br />convolution bug. This isnt a convolution reverbits an algorithmic reverb<br />put together the old-fashioned wayfrom your basic ones and zeroes. Its<br />extremely controllable (try changing the room size and damping of your average<br />reverb impulsedoesnt work, does it?), and very flexible. Separate control<br />over early and late reflections, stereo or mono in (input mix), stereo or mono<br />out (width), flip wet output channels for cross reverb (very cool for panning<br />mono instruments and letting them fill a space without getting overly wet),<br />high-p filters, gatingits all there. This is NOT the reverb you would use<br />to emulate a physical space (thats what convolution reverbs excel at), but<br />this is a true gem for sweetening tracks with reverbadding that special<br />shimmer to tracks that you cant really get any other way.<br /><br /><strong>Psychodither</strong><br />Gods Own Dither. A breakthrough adaptive algorithm reacts in real-time to the<br />signal audio to preserve the maximum possible dynamic range at any bit depth.<br />Select a dither color and dial in psychoacoustic noise shaping power to choose<br />exactly the right hardness or softness for your final renders.<br /><br /><strong>Schope</strong><br />One Scope To Rule Them All. A multitool, multiview, multichannel waveform,<br />frequency, signal and channel phase analyzer lets you superimpose and view<br />multiple audio signals from every dimension. Scope pre- and post-compression<br />signals together to see if youre flattening peaks. Scope kick drum and b<br />together for EQ scooping. Scope DI and amped guitar signals together to fix<br />phase problems. Pan, zoom, scrub, save, load, goniomete, and zambulize.<br /><br /><strong>Spectro</strong><br />An intuitive, real-time spectral editor. Draw boxes to add or subtract gain,<br />mute, or solo specific frequency ranges. Clean up accidental room noise,<br />remove harmonic bleed, perform surgical EQ, write your own multiband<br />compressor, de-ess, or get creative and combine additive filters for some<br />truly wild effects. It can be anything from a scalpel to a bludgeon. All in<br />real time, with amazingly low CPU use. Try it!<br /><br /><br /><br /><a href="http://rapidshare.com/files/67720427/SAdioPBndl104.rar">http://rapidshare.com/files/67720427/SAdioPBndl104.rar</a><br />
TinMan is an auto-peaking resonant filter with multiple pitch detection and individually triggered attack/decay envelopes. In other words, it listens to your audio and makes matching spooky wooo-eeee-oooo effects.
TinMan uses a new polyphonic pitch detection algorithm to isolate and rank the strongest pitches in the input audio. For each detected pitch, a separate resonant filter, or resonator, is peak-matched to that exact pitch (even if it’s off-key), and an attack envelope is triggered. If a pitch slides, the resonator’s resonant peak will continue to track it. If a pitch ends, the resonator will release until fully quiet.
At light settings, TinMan works on just about any dull audio part to add some life and interest.
Stillwell Audio The Rocket v1.0
Stillwell.Audio.The.Rocket.VST.v1.0
Size: 4mb Language: Multilangual OS: WinAll
Discription
The Rocket is a character audio compressor, singular in its extraordinary speed, responding in mere microseconds to variations in program level. Being in the order of several thousand times faster than most ordinary compressors, we respectfully submit that The Rocket kicks like a mf.
Violation of the laws of physics and digital signal processing remain beyond us at this time, and a single sample at 44.1kHz has a span of 22.6 microseconds. The Rocket’s attack time can be below this level, for absolute certainty that even the very first sample understands that you are its master. Placed on the master bus, The Rocket will effortlessly tame transients almost in the manner of a brickwall limiter.
Discussions of Science and Art are played out within The Rocket ’s ‘Impetus’ circuits, where warmth and aggression exist as DSP, able to take the delicate, musical gain reduction to the extremes of dirty, heavy and slamming rock’n'roll misbehaviour. Aw hell, The Rocket can rock so crank it up!
Außergewöhnliche Delay-Effekte
Das NI-Spektral Delay unterscheidet sich von vielen Anderen Audio-Effekten durch die Nutzung der Echtzeit Fast Fourier Transformation (FFT). Jeder Kanal eines Stereo-Signals wird in bis zu 160 separat modifizierbare Frequenzbänder aufgesplittet (intern sogar in bis zu 1024 Bänder). Lautstärke, Delay-Zeit und die Feedback-Menge können für jedes dieser Bänder getrennt eingestellt werden. Dazu kommen verschiedene Modulations-Effekte, die den Signalen im Frequenzbereich zugeordnet werden können. Dadurch sind noch mehr Sound-Manipulation möglich.
Das NI-Spektral Delay bietet außergewöhnlich gute Möglichkeiten für kreatives Sounddesign - von subtilen Korrekturen über den Einsatz vieler Effekte bis hin zur kompletten Veränderung des Audio-Signals. Trotzdem ist das NI-Spektral Delay einfach zu benutzen, da alle Parameter intuitiv und komfortabel kontrolliert werden können. Das liegt an dem raffinierten Interface, das sich besonders durch seine nutzerfreundliche Graphik auszeichnet. Das NI-Spektral Delay kann im Stand-Alone-Modus oder als Plug-in betrieben werden. Es bietet professionelle Soundqualität und kann ganz über MIDI gesteuert werden.
Kreativität und Komfort
Matrix-Editoren, die intuitiv eingesetzt werden können und die mit komfortablen Funktionen ausgestattet sind werden zur Festlegung der Delay-Zeiten und der Feedback-Level der Bänder benutzt: Jedes der bis zu 160 Bänder pro Seite kann einzeln mit Delay versehen und mit einer individuellen Größe an das Delay-Input rückgekoppelt werden. Die Delay-Zeiten lassen sich frei setzen oder über ein Noten-Raster dem Rhythmus anpassen. Die maximale Delay-Zeit ist 12 Sekunden. Dieses Band-Delay ermöglicht subtile Klangfarben-Effekte, genauso wie den rhythmischen Verlauf der einzelnen Töne und dichte, atmosphärische Sound-Texturen. Die Modulations-Effekte des NI-SPEKTRAL DELAYs, die durch Plug-ins noch erweitert werden können, liegen im Frequenzbereich des Audio-Signals und bieten viele unkonventionelle Prozess-Möglichkeiten - etwa Rotation des Frequenzbands oder Hall-Simulation indem man den Lautstärkeverlauf des Audiosignals "verschmiert"
Die genialste virtuelle Instrumentenkollektion mit MS-20/Polysix/WAVESTATION plus USB Controller im MS-20-Look.
Die Legacy Collection von KORG ist das ultimative virtuelle Software-Paket, das einen ganz realen MS-20 und Polysix in bester Analog-Tradition enthält und zudem mit einem Modell des Vector-Synthesizers WAVESTATION aufwartet. Die Authentizität wird durch den MS-20-Controller noch verstärkt, weil er dem MS-20 zum Verwechseln ähnlich sieht (wenngleich er etwas kompakter gehalten ist).
Legendäre Instrumente haben die unangenehme Eigenschaft, dass sie schon lange vergriffen sind und so gut wie nie (oder nur für teures Geld) auf dem Gebrauchtmarkt angeboten werden. Wenn sie wirklich begehrt sind, wird davon irgendwann eine virtuelle Software-Version programmiert, die einen Computer quasi zum modellierten Original umfunktioniert. Das setzt feine Ohren und noch feinere Programmierkünste seitens der Anbieter voraus. In dieser Hinsicht ist unser CMT-Verfahren mit perfekten Simulationen elektronischer Schaltungen ein echter Hammer. Unser MS-20- und Polysix-Modell klingen selbst auf einem Computer berauschend analog. Und da man mit Software ja viel mehr anstellen kann, haben wir auch eine "Legacy Cell" entwickelt, die genau das Gegenteil einer Ausnüchterungszelle ist: Hier kann man die beiden Analogen nämlich miteinander verknüpfen und völlig neuartige Sounds erstellen. Auch die WAVESTATION, nach der man uns noch täglich fragt, liegt ab sofort als Software-Emulation vor.
NFO NFO
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Korg.Legacy.Collection.v1.1.10-AMPLIFY
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TEAM AMPLiFY :...SUPPLIER �� REL-DATE..: 03.29.2007
TEAM AMPLiFY :...PACKAGER �� RELEASE#..: 0DAY-091
TEAM AMPLiFY :....CRACKER �� DISKS.....: 11x5.00MB
ONLINE REG :.PROTECTION �� TYPE......: Standalone/VSTi
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http://www.korg.com/
Installed Software
- Stand Alone
� MS-20
� Polysix
� Legacy Cell
� WAVESTATION
- Plug-in Instrument
� MS-20 (Audio signal cannot be input)
� Polysix
� Legacy Cell
� WAVESTATION
- Plug-in Effect
� MS-20FX (Audio signal can be input)
� MDE-X
MS-20 software synthesizer
Maximum polyphony: 32 notes (depending on the CPU of host
computer)
Number of parts: 1
Unison: user-specifiable number of voices (1-16), Detune,
Spread
External modulation: Source (Velocity/KBD Track/Pressure/Pitch
Bend/Modulation/Breath/CC#16/CC#17),
External Modulation 1 (VCO 1 PULSE WIDTH, VCO 2 PITCH, HPF
CUTOFF, LPF CUTOFF,AMP),
External Modulation 2 (FM MG/T.EXT, HPF CUTOFF, HPF
MG/T.EXT, LPF CUTOFF, LPF MG/T.EXT)
- TEMPO - MG Sync
- 32 sound templates included
- Micro tuning
- Operates as stand-alone or VST/AU plug-in instrument
Polysix software synthesizer
Maximum polyphony: 32 notes (depending on the CPU of host
computer)
Number of parts: 1
Unison: user-specifiable number of voices (1-16), Detune,
Spread
External modulation: Source (Velocity/KBD Track/Pressure/Pitch
Bend/Modulation/Breath/CC#16/CC#17),
External Modulation 1 (VCO PULSE WIDTH, VCF FREQUENCY, VCA
GAIN, MG LEVEL),
External Modulation 2 (VCO PULSE WIDTH, VCF FREQUENCY, VCA
GAIN, MG LEVEL)
- TEMPO - MG Sync, TEMPO - Arpeggiator Sync
- 32 sound templates included
- Micro tuning
- Operates as stand-alone or VST/AU plug-in instrument
Legacy Cell software synthesizer
Performance: Synth 1 / 2, Combination Parameter, Insert
effect x 2, Master effect x 2, Mixer, MIDI Controller, MIDI
keyboard
Synth: MS-20, Polysix
Combination parameter: Key/ Velocity zone, Velocity Curve,
Key Transpose,
MIDI Filter (Control Change, Channel Pressure) on Synth 1 / 2
Insert/Master Effect Type: 19 types -
DynaCompressor, Compressor, Multi Band Limiter, Mastering
Limiter, OverDrive/Hi.Gain+Wah, 4 Band EQ,
Exciter/Enhancer, Talking Modulator, Decimator, Flanger,
Phaser, Polysix Ensemble, MultiTap Chorus/Delay,
Stereo/Cross Delay, LCR BPM Delay, Reverb Hall,
Reverb Smooth Hall, Reverb Wet Plate, Reverb Dry Plate
Mixer: Synth output x 2, Master Effect output x 2, Master
output
MIDI Controller: Encoder x 8, Fader x 8, Parameter/Value
Indication x 16, CC#/ Parameter assign learn function
MIDI keyboard: 88 key, Pitch Bend Wheel, Modulation Wheel
equipped-
- 256 performance sounds included
- Operates as stand-alone or VST/AU plug-in instrument
WAVESTATION software synthesizer
Maximum polyphony: 32 notes (depending on the CPU of host
computer)
Number of parts: 1
- 484 PCM waveforms
- 55 effect types
- 550 performances, 385 patches (ROM8 Banks + RAM3 Banks)
sound included
- Performance/Patch/Wave Sequence Data can be imported
(in .SYX file)
- Operates as stand-alone or VST/AU plug-in instrument
MS-20FX
- Same as MS-20 software synthesizer specifications
- Number of audio channels: two-channel input (mono mix
after input), two-channel output
- VST/AU plug-in effects are supported
MDE-X
- Effect types: 19 types (same as effect types of Legacy Cell)
- Dynamic modulation is supported
- Number of audio channels: two-channel input, two-channel
output
(for mono-input effects, one channel is passed through to
the output)
- 128 effect programs included
- VST/AU plug-in effects are supported
Commonality
- Realtime MIDI Control and Automation
- Sampling Frequency: 44.1kHz - 192 kHz
- G4 Velocity Engine optimized (Mac), Intel Pentium 4 SSE2
optimized (Windows)
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1. Unpack
2. Run setup.exe to install
3. Buy the stuff if you like it and use it
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AMPLiFY iNGREDiENTS: 1 cup of TALiO - 1 cup of AI - 1 cup of CoBaLT.
Bake in a preheated oven for 40 minutes until set.
Let it cool and enjoy. :)
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BSOUNDZ, DELiRiUM, EtHnO, SPiRiT, TZ7iSO,
AiR, H2O, PLZ, iNViSiON
Special Thanks To All The People That Support Us.
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These great stomp-boxes can be neatly arranged on the Hardcore pedalboard, each with it's own distinctive 'hardware' flavour. But wait, there's more (as they say), Hardcore includes an 8 band graphic EQ and 5 classic cabinet simulations to tie it all together into one massive sound. You will be feeling at home with Hardcore in no time at all, but more importantly sounding like famous people.
NFO NFO
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P R E S E N T S
Release name: ...................... Image.Line.Hardcore.VST.FL.v1.0.2
Type of release: ............................................. Cracked
Type of protection: ................................. ASProtect/Serial
Release date: ............................................ March, 2009
Release size: ............................................ 1 X 4,77 MB
Operation system ............................................ XP/Vista
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DESCRiPTiON:
Playing guitar is cool, but the steep learning curve to make your DAW
sound like your old amp and stomp-boxes definitely isn't. Welcome then
to Hardcore, a collection of 10 classic effects designed with
Guitarists in mind.
Inside Hardcore you will find all your staple effects including:
+ Distortion
+ Chorus
+ Flanger
+ Phaser
+ Reverb
+ Delay
+ Noise Gate
+ Equalizer
+ Compression
+ Modulator
These great stomp-boxes can be neatly arranged on the Hardcore
pedalboard, each with it's own distinctive 'hardware' flavour. But
wait, there's more (as they say), Hardcore includes an 8 band graphic
EQ and 5 classic cabinet simulations to tie it all together into one
massive sound. You will be feeling at home with Hardcore in no time at
all, but more importantly sounding like famous people.
More info: http://www.image-line.com/
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iNSTALLATiON:
1. Unzip, unrar
2. Install software
3. Copy cracked "Hardcore.dll" to ALL(!) app dirs
4. Try it
5. Buy it!
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GREETiNGS:
TSRh, tPORT, BEAT, FFF, REVENGE, PCL, FOFF, AiR, DVT, CORE, SSG, AT4RE
10X:
NF0 Viewer was coded by WatCheR (http://www.wcrpro.net/)
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CONTACTS:
Somewhere in the net...
is a powerfull WaveDraw synth with a crunchy and fatty sound for driving synth lines, basses and
Specs:
- 1x Manual Draw Mode sequencer with save,load and random (sequences are compatible with PsYbAsSyX, sYnYx and SyNpLyX)
- 1x sequencer speed selector
- 1x Wave Draw Osc with load, save and adjustable wavetable size (256,512,1024 samples)
- 1x stereo widening function
- 1x ADSR
- 1x filter section (cutoff, res and env)
- 1x tempo sync delay
- 1x flanger/phaser/chorus FX
- 1x random sequence button
- 1x random synth button
- 1x random FX button
- 1x random Wave Form button
- 1x random all button
- 1x preset manager with 32 presets
- Full midi learn on every parameters
Letzte gecrackte Version ist die 1.3.5 (cracked by nGen, supplied by Dynamics).
btw Chris Hein Guitars ist 16GB schwer. Bevor ich mir das bei RS laden (geschweige denn dort uploaden würde), würde ich mal einen Blick auf diverse Torrent-Tracker werfen...;-)
Letzte gecrackte Version ist die 1.3.5 (cracked by nGen, supplied by Dynamics).
btw Chris Hein Guitars ist 16GB schwer. Bevor ich mir das bei RS laden (geschweige denn dort uploaden würde), würde ich mal einen Blick auf diverse Torrent-Tracker werfen...;-)
Gruß
Eudoros
also ich habe eben mal geguckt und ich hab noch das electro guitars pack mit drin mit 1,75GB und komme insgesammt auf 20,51GB ;-)
also 16GB ist noch ein bisschen untertrieben...
ich würds für dann insgesammt vllt mal 2 leute auch nicht hochladen ...
also ich habe eben mal geguckt und ich hab noch das electro guitars pack mit drin mit 1,75GB und komme insgesammt auf 20,51GB ;-)
also 16GB ist noch ein bisschen untertrieben...
ich würds für dann insgesammt vllt mal 2 leute auch nicht hochladen ...
stimmt das ist echt zuuu groß...!
kennt ihr zufällig vergleichbare vstplugs wie Chris Hein Guitars ?
Die dritte Version des erfolgreichen Traktor DJ Studio vereint klassisches Auflegen, Live-Remixing, Live-Composing und Echtzeit-Mix-Produktion.
Traktor 3 bietet hervorragende Klangeigenschaften und 4 virtuelle Decks zu Abspielen digitaler Tracks. Hierbei kann man einfach taktgenau vom einem zu nächsten Track mixen, Loops setzen oder vier Tracks synchron laufen lassen.
Die Möglichkeiten sind hier nahzu unbegrenzt.
Die Handhabung des Programms ist dabei noch kinderleicht, dank den fortschrittlichen Funktionen und den interaktiven Wellenform-Displays.
FEATURES:
* frei konfigurierbare Benutzeroberfläche mit vier virtuellen Decks, Tempoerkennung und Live-Audio-Eingängen
* Emulation des Allen & Heath´s Xone:92 4-Kanal Mixers
* vier tempo-synchrone Effekte und drei zusätzliche high-end Equalizer - fortschrittliche Loop-editier-Funktionen; Cueing und Beat-genaues Springen in der Wellenform
* ultra-schnelle Datenbank, iTunes™ Import und iPod Unterstützung
* direkter Zugriff auf den BEATPORT.COM Online Store
* unterstützt multiple MIDI-Controller, unkomplizierte MIDI-Zuordnung, Mastertempo mit Pitch-Bend-Kontrolle
* Automatische Gain-Anpassung; hochwertige Tempo- und Tonhöhenkorrektur
* kompatibel mit Stanton FinalScratch 2
* patentierte, nicht-destruktive Native Mix File Technologie erlaubt Aufnahme, Editieren und Export von DJ Sets
Moinsen,
habe folgendes Problem:
Nutze seit neuestem Vista x64 und bin ein totaler Fan vom EMU Proteus, insbesondere mit der Mo-Phatt-Soundbank. Nun läuft aber der von mir genutzte EMU Proteus VX nicht unter Vista x64.
Der EMulator X3 soll bestens unter Vista lauifen. Kann man den irgendwo laden?
also ich habe eben mal geguckt und ich hab noch das electro guitars pack mit drin mit 1,75GB und komme insgesammt auf 20,51GB ;-)
also 16GB ist noch ein bisschen untertrieben...
ich würds für dann insgesammt vllt mal 2 leute auch nicht hochladen ...
Also ich glaube da würden sich einige drüber freuen, ich natürlich auch ^^
